Tesis sobre el tema "Cooperative cinema"

À partir de l’après-guerre, de nouvelles méthodes « collectives » de production cinématographique voient le jour en Italie : d’abord, dans les années 1940 et 1950, sous la forme de coopératives, et à partir de la décennie suivante, sous celle de collectifs cinématographiques ou d’unités de production indépendantes. Ces initiatives collectives ont produit une grande variété de films, tant sur le plan thématique que formel : des films partisans aux contre-actualités cinématographiques, des fictions aux documentaires, pour en arriver aux bandes vidéo militantes des années 1970. Ces films s’appuient sur un même choix politique : le travail collectif en alternative à l’industrie. Un choix car, pour chacun d’entre eux, il ne s’agit ni d’un repli, ni d’une solution dictée par l’impossibilité ou l’incapacité d’accéder au circuit commercial, mais d’une décision consciente et assumée, en opposition à ce même circuit. Le titre « Contre-produire » souligne cette corrélation entre le refus des méthodes de production du cinéma « dominant » et l’adoption d’une approche collective pour en inventer de nouvelles. Les procédés hégémoniques dont il est question ne se limitent pas seulement aux normes imposées par les circuits du cinéma commercial, mais également aux formes du cinéma « dissident » qui réduisent les films à leur fonction de communication politique. L’objectif est de mettre en lumière une sélection de films, de projets, de théories et d’utopies collectives qui ont émergé à « la marge » du cinéma italien dans l’une de ses périodes les plus fécondes. Loin d’être « marginales » au sens de secondaires, elles ont constitué un laboratoire majeur de nouvelles formes cinématographiques dans l’Italie des années 1950-1970
From the post-war period onwards, Italy witnessed the emergence of new “collective” approaches to film production: in the 1940s and 1950s, it took the form of cooperatives; and in the subsequent decade, it evolved into film collectives or independent film production units. These collaborative endeavors yielded a wide array of films, encompassing a rich diversity of themes and styles : from partisan films to “counter-newsreels,” from fictions to documentaries, culminating in the 1970s militant videotapes. All these films embraced a common political commitment: adopting a collaborative and independent approach for filmmaking as an alternative to the labor-divided and market-oriented film industry. In fact, these films neither embody a desire of withdraw nor a circumstantial response to an inability to break into the well-established commercial networks; on the contrary, they serve as the tangible expression of a deliberate and resolute choice, one made in direct defiance of the prevailing film production system. The neologism “counter-production” aims to underscore the interplay between two fundamental dimensions of the Italian collective cinema: on one hand, the critique of the production modes of “dominant” cinema and, on the other, the embrace of a collaborative approach for filmmaking. In other words, “to counter-produce” extends beyond the mere act of challenging the industry norms, it is also characterized by a critical perspective on certain militant cinematic forms that reduce films to useful tools for political messaging. This dissertation follows a twofold program: it seeks to underscore both the commonalities among these collective practices and the inherent uniqueness found within each cinematic form they explore. By examining a carefully selected body of materials – projects, theories, and collective utopias that surfaced on the “fringes” of Italian cinema during one of the most fertile periods of its history – the overreaching objective is to reevaluate the marginal status of this corpus: rather than occupying a secondary role, it appears to have served as a central and significant experimental ground for pioneering cinematic innovations in Italy from the 1950s to the 1970s

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O presente estudo “Casa de Cinema de Porto Alegre: realização cooperativa, padrão de criação e desenvolvimento no cinema gaúcho” busca compreender como a Casa de Cinema de Porto Alegre se mantém após mais de vinte anos de atividade em um mercado de características muito específicas, que dificultam e, em alguns casos, inviabilizam sua execução permanente e constante. Com a utilização dos métodos de pesquisa e revisão bibliográfica combinados com entrevista em profundidade, o estudo resgata e analisa a trajetória da empresa produtora, contextualizando suas ações desde o seu surgimento até a atualidade. Ao mesmo tempo, destaca sua importância como grupo com relevância cultural, social, econômica e política. Sua atuação, tanto pelos indivíduos que, em suas realizações, propuseram mudanças significativas para o cinema nacional, principalmente para o gaúcho, quanto pelo conjunto de profissionais que, pela união de suas aptidões, trouxeram novos elementos para esse mercado, criou um padrão, legitimado pelas maiores
“Casa de Cinema de Porto Alegre (The House of Films of Porto Alegre): cooperative realization, standard of creation and development of the cinema in the south of Brazil” seeks to understand how Casa de Cinema de Porto Alegre remains, after more than twenty years of activity, in a market of such specific characteristics that make it difficult and, in some cases, hinder its ongoing and constant accomplishments. Through methods of research, review of literature and an in-depth interview, this study recovers and analyzes the trajectory of this independent production company, contextualizing its actions from its birth to the present. At the same time, it highlights the company’s importance as a group of cultural, social, economic and political relevance. Its performance, both through the individuals whose accomplishments proposed significant changes to the national cinema, mainly to the southern one, and through the gathering of such talented professionals, who have brought new elements to this market. Casa de Ci

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In the midst of both technological evolution and democratization of the means for audiovisual production within the 21st century, we are experiencing a moment of effervescence in Cinema with new possibilities for independent film-making through the creative employment of digital technologies. Both the attempt at finding alternative strategies in Brazilian cinema and the arising of novel models for audiovisual production provide an advantageous field for academic studies on social and economic contexts and ways of organization within film-making. I intend to reflect about the recent production process in the Brazilian cinema by observing experiences that seek for solutions that are different from the hegemonic industrial model and that appear as a cornerstone for cinema in the digital era. The study here presented considers the following elements as a tripod for audiovisual production: equipaments, funding, and the team. I suggest that the technical, the economic, and the affective fields are crucial for understanding the above mentioned elements within independent cinema. Within this scenario, the thesis examines modes of production in contemporary cinema by taking the model undertaken by Cooperativa Filmes a Granel from Paraíba state - which is part of what we call the Digital Phase of cinema in Paraíba - as a case study.
Frente ao processo de evolução tecnológica e à democratização dos meios de produção audiovisual no século XXI, vivenciamos um momento de efervescência com as possibilidades de realização independente, através da utilização criativa das tecnologias digitais. A busca por estratégias alternativas no cinema brasileiro e o surgimento de novos modelos de produção audiovisual oferecem um terreno profícuo para estudos acadêmicos sobre o contexto socioeconômico e as formas de organização no fazer fílmico. Pretendemos refletir sobre a produção recente, a partir da observação de experiências que buscam soluções diferentes do modelo hegemônico industrial e que constituem em uma mola propulsora para o cinema na era digital. A pesquisa aqui proposta considera como tripé de sustentação para uma produção audiovisual os seguintes elementos: os equipamentos, os recursos financeiros e a equipe. Sugerimos os campos técnico, econômico e afetivo para compreender tais pontos no cinema independente. Diante deste cenário, essa dissertação versa sobre modos de produção no cinema contemporâneo, tendo como estudo de caso o modelo paraibano da Cooperativa Filmes a Granel, que se insere no que chamamos de Fase Digital do cinema na Paraíba.

The cruise sector is experiencing an unprecedent growth, as shown by the increasing demand for cruises from East Asia markets, especially from China. The increasing complexity of market needs, both from a functional (comfort, design, facilities) as well as from an emotional point of view, is giving rise to a differentiated demand which is not just a simple challenge that need to be addressed by the major cruise shipyards who want to compete at world level. Traditionally, Europe has always dominated the shipbuilding market; this said, in recent years, it has given way to the expansion of Far East-based shipyards such as China, South Korea and Japan. This switch has been made possible thanks to favourable manufacturing costs, low labour costs and government financial support. In this thesis, my primary aim is to investigate how Italy can cooperate with Chinese shipyards in the cruise shipbuilding sector; I also put forward some forecasts about future trends backed by consistent data and information emerged from the interview I had with Fincantieri S.p.a. After an overview of the Italian and Chinese cruise shipbuilding markets and their changes over times, I shift my focus on the cooperation between Fincantieri, the major Italian shipbuilding player, and the Chinese shipyard CSSC. These two companies have signed a Joint Venture agreement that has boosted the development of the Baoshan cruise park. This is a new project that aims to create a new cruise park for the boarding and landing of passengers. It also includes an area dedicated to cruise ship construction and refitting, where the Italian know-how and refined design can perfectly match with the Chinese skilled workforce. In conclusion, I analyse the development of Fincantieri in Italy and in China, their business model and the mass customization project they are carrying out in order to meet the different needs of a multifaceted clientele.

La tesi verte in generale sull'argomento dell'internazionalizzazione delle imprese italiane. Nello specifico verranno prima analizzati aspetti, vantaggi e svantaggi del processo di internazionalizzazione. Successivamente verrà analizzato l'effetto del paese d'origine sul comportamento d'acquisto del consumatore, in particolare la percezione del Made in Italy sui consumatori cinesi. Il caso aziendale analizzato riguarda una cooperativa italiana con presenza sul territorio cinese, il cui nome è Cooperativa Ceramica d'Imola, una tra le prime aziende (se non a prima) ad operare in Cina nel settore arredamento casa con produzione del tutto italian. Dunque partendo dai concetti di internazionalizzazione e Country of Origin Effect, lo scopo è l'analisi dei fattori competitivi di successo di Cooperativa ceramica d'Imola per riuscire a divenire azienda leader nella patria stessa della ceramica.

The dissertation concerns the cooperation between China and Africa with a specific focus on Tanzania. It will tell the history of this country, beginning in the 1960s when the country reached its independence and tied relationship with China. China was one of the most influent and the biggest donor country which helped and assisted Tanzania to reach is current state of development throughout the years. The thesis develops chronologically along the time line up until the present and even tries to give a glimpse in to the future, at how the story of the country possibly could evolve.

With a long history of friendship, China and Pakistan are forging a closer relation through the China-Pakistan Economic Corridor (CPEC). China is investing US$46 billion to help Pakistan to improve its economic situation. This project is the flagship of the Chinese initiative One Belt and One Road (OBOR) and it will connect the city of Gwadar, on the Arabian Sea, to the city of Kashgar in the Chinese province of Xinjiang. This trade route will facilitate the trade between Central Asia, the Middle East and Africa. The project is meant to help both countries to deal with their problems and interests. This dissertation analyses the implications that the CPEC will have on both Pakistan and China in the fields of economy, infrastructure, energy, security and geopolitics. Will the CPEC be able to improve the future of Pakistan, solve its energy crisis and boost its economy? What are China’s interests in the region and what is it gaining from such huge investments? What will China, Pakistan and the neighbouring countries gain from the CPEC at the end of the project? In order to answer these questions, this study first presents the “all-weather friendship” between China and Pakistan and secondly compares the present economic situation of Pakistan and China with their respective future projections after the end of the project in 2030.

China’s growing involvement in sub-Saharan African countries, has been the topic of considerable scholarly, media, and even general public attention since 2000, when China established the first summit on China and Africa co-operation. The growing Chinese’s engagement in Africa Sub-Saharan raise concerns about the China’s presence in African countries. Indeed, Western opinion have exacerbated criticism against China, placing the whole world some questions that undermine Chinese reputation: The dissertation in question, will provide the analysis of China’s relation with Sub-Saharan countries through the debate arising between Western and Chinese opinion, focusing attention on a specific period which runs from 2009 to 2018. The first chapter will provide an historical background which purpose is to clarify how China and African countries have strengthened relationship since the beginning of their official engagement. The second chapter will handle with the analysis of China and Sub-Saharan relationship countries through the lecture of two international newspapers which can be considered as a window on the wider world: The Economist and The Guardian. The third chapter will deal with Chinese’ opinion about its own presence in Africa. How China defends its position and reputation against the harsh critics moved by Western concerns? Through the China Daily (Zhongguo Ribao 中国日报), I will provide an analysis of China and Africa contemporary relation from Chinese perspective, considering the debate between China Daily, The Economist and The Guardian

In the last few decades stochastic dynamic modeling (SDM) has been used to explore adaptive state-dependent strategies in a whole host of different theoretical problems in behavioural ecology, with considerable success. It has allowed us to better understand cooperative behaviours such as sentinel behaviour, and it might allow us to more fully understand other cooperative behaviours with alternative dynamics. In a recently developed SDM, anti-predator behaviour was examined and a counter-intuitive prediction has emerged: that mobbing effort should be completely independent of state. In this study we test this interesting prediction, using the cooperatively breeding Apostlebird (Struthidea cinerea) as our study species. From October 15th to November 21st in 2009, 6 groups of varying sizes were put through a set of trials, where we used a rubber snake model to elicit mobbing behaviour in experimental trials. A similarly sized stick was used during control trials, wherein birds tended to forage. Behaviour, placement and vocalisation data on an individual basis were gathered in multiple scan samplings per trial in both kinds of treatment. This highly accurate data was then compared with within-individual differences in body mass (state). Several other variables were also considered: sex, age, breeding status, relatedness and mean body mass. Results show that while foraging behaviour was highly state-dependent during controls, no such effect was found in the mobbing effort of the same individuals during experiments. Mobbing effort also did not vary with any of the mentioned phenotypically fixed variables. Our study therefore offers the first empirical evidence of state-independent mobbing.

In my thesis I will try to analyze the present situation of the Sino-Greek cooperation, under three points of view. First of all under an Historical point of view. Starting from the very beginning in 1969 till 2017. Focusing on the main political, economical and cultural events and exchanges. In particular all the events that brought to the privatization of the Piraeus port and the consequences and reactions to it. Second under the Piraeus port developments point of view. Analyzing the port in numbers before and after the privatization, demonstrating the quick increase of the development in recent years. Then focusing on the working conditions in the Piraeus port after the presence of the COSCO Group that raised the dissatisfaction among the dockworkers. Seeing how this relationship changed from 2013 till nowadays. What the workers want and what is the answer from the employers part. Third under the “One Belt One Road Project” point of view. Analyzing the cooperation of these two countries in this initiative, in the financial interest, in the infrastructural interest an in the political one.

The aim of this thesis is to describe and analyze the role that Chinese banks play in an internationalization process, especially in Italy, focusing on the commercial side of a bank. China has gradually become one of the strongest global countries in economic terms, but in the recent period the saturation of the Chinese market has become a consistent problem, which is added to the country needs to expand its market and enter new ones, “going globally”, in order to find new resources. To achieve this objective in the safest way, Chinese companies need the guidance of their banks. The consequence is that these have to follow their customers –mainly companies– in the internationalization process, so as to maintain their competitiveness, with the implication of moving abroad too. After having described the role of Chinese banks in the companies’ internationalization process, I will focus on the Italian case. First of all it will be clarified the reason why Chinese companies choose Italy, considering its rules, regulation and supervision. Also a brief comparison with the Chinese case will be made. Consequently the analysis on what the approach with the Italian country (Government, companies and banks) will be, as a natural consequence, a description of the four major Chinese banks present in the Italian territory –Bank of China, Bank of Communications, China Construction Bank, Industrial and Commercial Bank of China– will be provided.

L'estudi "El cinema Low Cost com a model de negoci, noves formes de produir i distribuir el cinema Espanyol (2008-2016)", tracta aquest mètode com una manera alternativa de pensar la producció cinematogràfica a Espanya. Es centra, sobretot, en el recorregut del cinema fet a Espanya a partir de la crisi de 2008, ja que es consolida per aquesta, pels avenços tecnològics i les escoles de cinema que faciliten l'experimentació i el DIY. Desvetllem el cinema fet amb pocs recursos com una de les maneres escollides pels cineastes actuals d'impulsar les seves carreres i seguir oferint títols diferents de la indústria, amb la qual cosa, és important entendre aquest fenomen que, lluny de desaparèixer, es va integrant cada vegada més en els mitjans i en una indústria que, encara que al principi ho ignorava, finalment comença a acceptar-ho. La primera part de la investigació traça els antecedents tant espanyols com internacionals del Low Cost. La segona part desxifra l'evolució d'aquest mètode, sempre en comparació amb la indústria tradicional nacional. La tercera part desglossa els passos del model de negoci a través de diversos exemples de pel·lícules realitzades i eines útils que sorgeixen arran d'utilitzar aquest mètode. La investigació s'ha dut a terme amb una barreja d'anàlisi d'exemples passats i entrevistes als principals d'aquest procés. Finalment, en la quarta part, s'han analitzat tots els casos, obtenint així resultats sobre l'aportació del Low Cost cap a la indústria. Aquesta manera de fer cinema és una mostra d'alternatives que ajuden, com el crowdfunding, a l'ampli ús d'eines digitals per a la promoció i distribució, com el vídeo a la carta, i el canvi cap al treball compartit de les cooperatives. Tot i que no és un model a seguir íntegrament perquè per si, no es sosté econòmicament, tot i que hem pogut veure que genera cultura cinematogràfica. L'ideal és la combinació d'eines Low Cost amb el procés de la indústria tradicional.
El estudio “El cine Low Cost como modelo de negocio, nuevas formas de producir y distribuir el cine Español (2008-2016)”, trata este método como una manera alternativa de pensar la producción cinematográfica en España. Se centra, sobre todo, en el recorrido del cine hecho en España a partir de la crisis de 2008, ya que se consolida por esta, por los avances tecnológicos y las escuelas de cine que facilitan la experimentación y el DIY. Desvelamos el cine hecho con pocos recursos como una de las maneras escogidas por los cineastas actuales de impulsar sus carreras y seguir ofreciendo títulos distintos a la industria, con lo cual, es importante entender este fenómeno que, lejos de desaparecer, se va integrando cada vez más en los medios y en una industria que, aunque al principio lo ignoraba, finalmente comienza a aceptarlo. La primera parte de la investigación traza los antecedentes tanto españoles como internacionales del Low Cost. La segunda parte descifra la evolución de este método, siempre en comparación con la industria tradicional nacional. La tercera parte desglosa los pasos del modelo de negocio a través de varios ejemplos de películas realizadas y herramientas útiles que surgen a raíz de utilizar este método. La investigación se ha llevado a cabo con una mezcla de análisis de ejemplos pasados y entrevistas a los principales de este proceso. Por último, en la cuarta parte, se han analizado todos los casos, obteniendo así resultados sobre la aportación del Low Cost hacia la industria. Esta manera de hacer cine es una muestra de alternativas que ayudan, como el crowdfunding, al amplio uso de herramientas digitales para la promoción y distribución, como el VOD, y el cambio hacia el trabajo compartido de las cooperativas. Aunque no es un modelo a seguir íntegramente porque por sí, no se sostiene económicamente, aunque hemos podido ver que genera cultura cinematográfica. Lo ideal es la combinación de herramientas Low Cost con el proceso de la industria tradicional.
"Low Cost Cinema as a Business Model, New Ways to Produce and Distribute Spanish Cinema (2008-2016)", looks at this method as an alternative way of thinking about film production in Spain. It focuses, above all, on the path of cinema made in Spain since the crisis of 2008, as it is consolidated by this, technological advances and film schools that facilitate experimentation and DIY. We reveal the film made with few resources as one of the ways chosen by the current filmmakers to promote their careers and continue offering different titles to the industry, which is important to understand this phenomenon that, far from disappearing, is becoming increasingly integrated in the media and in an industry that, although at first he ignored it, finally begins to accept it. The first part of the research traces both the Spanish and international backgrounds of Low Cost cinema. The second part deciphers the evolution of this method, always in comparison with the traditional national industry. The third part breaks downs the steps of the business model through several examples of existing films and useful tools that arise from using this method. The research has been carried out with a mixture of analysis of past examples and interviews with the principals of this process. Finally, in the fourth part, all the cases have been analyzed, thus obtaining results on the contribution of the Low Cost to the industry. This way of making films is a sample of alternatives that help, such as crowdfunding, the widespread use of digital tools for promotion and distribution, such as VOD, and the shift towards cooperative work sharing. Although it is not a model to follow in its entirety because in itself, it is not financially supported, although we have been able to see that it generates film culture. Ideally, the combination of Low Cost tools with the traditional industry is what works best.

La presente investigación pretende abordar la relación entre cine y activismo. Más concretamente, la manera en que estos dos elementos se han articulado en la actual coyuntura -tras la última crisis económica y sus consecuentes protestas sociales-, en el marco de la ciudad de Barcelona. Proyectos que, adoptando diversas modalidades, coinciden en la voluntad de prescindir, lo más posible, de los mecanismos comerciales o institucionales a la hora de elaborar, distribuir o exhibir materiales fílmicos. Proponiendo, al tiempo, contenidos críticos, independientes, contrainformativos y de denuncia. ¿Cómo nacen? ¿Cuál es su conexión con los referentes del pasado? ¿Cómo es su estructura organizativa? ¿Cómo entienden la cultura?¿Por qué hacen del cine su herramienta para la praxis política?¿Qué temáticas son las que producen o difunden?¿Cuál es su incidencia en el entorno en que se sitúan? Interrogantes todas que encontrarán respuesta en la aproximación a cada uno de ellos, revelando sus experiencias, dificultades, logros y contradicciones cotidianas, así como la manera en que han asumido la labor cinematográfica desde el empoderamiento colectivo, la intercooperación y la autoorganización.
This investigation addresses the relationship between cinema and social activism. Particularly the way this two elements have been brought together nowadays in Barcelona-after the latest economic crisis and its resulting social protests. Several projects adopt different methods and agree to avoid as much as possible all commercial or institutional mechanisms when it comes to distributing or showing film material. They suggest critical, independent and denunciative content. How are they born? How they connect with past references? How are they organized? How they understand culture? Why they use cinema as a tool for politics? What topics are being produced and spread? How they affect their surroundings? All this questions will be answered reveling their experiences, difficulties, achievements, and daily contradictions, as well as the way they have assumed the cinematographic task from collective empowerment, inter cooperation and self-organization.

“É Hasteada a Bandeira do Novo Cinema Português” dá título à presente dissertação que aborda o cinema produzido em Portugal durante o Estado Novo. Trata-se de uma viagem empreendida desde os anos 30 e 40, designada como a época de ouro do cinema português, passando pelo Movimento Cineclubista e pelo Neorrealismo nos anos 50, terminando na década de 60, com o Novo Cinema Português. Dom Roberto (1962), realizado por Ernesto de Sousa, é o filme que dá início a este último movimento. É também ele, enquanto objecto cinematográfico, que constitui o centro deste trabalho. Dom Roberto é um filme originalmente controverso, devido à sua componente multifacetada. Sendo influenciado por diferentes áreas e correntes, questiona-se se será digno de representar o movimento vanguardista designado por Novo Cinema Português. Tendo em vista esse apuramento, conduziu-se uma investigação pelo espólio de Ernesto de Sousa, bem como por artigos de jornais e de revistas, no período de 1959 a 1962. No mesmo sentido de esclarecimento daquela problemática vão as entrevistas realizadas com o cineasta Lauro António, com o historiador Luís Reis Torgal e com o jornalista Paulo Filipe Monteiro. Pelo modo de produção, designadamente pela angariação de fundos – por via da Cooperativa de Espectador, forma inovadora de financiar a sétima arte – Dom Roberto liga-se ao filme Bom dia, Alegria! (Projeto Final de Mestrado). Com um enfoque especial na obra do realizador Ernesto de Sousa e em Dom Roberto, sua única longa-metragem, esta dissertação torna patente certas peculiaridades das produções cinematográficas durante o regime salazarista, as suas dificuldades e conquistas. Será que o cinema de hoje deve alguma coisa àquele remoto “hastear da bandeira”?
The following Master’s Thesis is named “É Hasteada a Bandeira do Novo Cinema Português” (“The New Portuguese Cinema Flag is Flown”) which approaches the subject of the cinema industry in Portugal during the “Estado Novo” era. This thesis approaches subjects starting with the decades of 1930 and 1940, when the golden era of the Portuguese cinema was predominant, also touching the the Cineclub movement and the Portuguese Neorealism during the 1950’s decade and finishing by dealing with the subject of the “Novo Cinema Português” (“New Portuguese Cinema”) which starts on the 1960’s decade. Ernesto Sousa directs the movie that starts this movement: Dom Roberto (1962) is the main object of research of this work. Dom Roberto is a movie originally controversial due to its multifaceted component. Different areas and movements influence it. For that reason, the doubt arises: is the movie worthy of representing the Portuguese vanguardist movement? The answer to that question is analysed by taking into consideration the assets of Ernesto de Sousa such as newspapers articles and magazines (1959-1962). The interviews conducted to Lauro António, Portuguese cineaste, to Luís Reis Torgal, Portuguese historian and to Paulo Filipe Monteiro, Portuguese Journalist are equally important for the subject at hands. The mode of production, in particular by raising funds - through the Viewer’s Cooperative, innovative way to finance the seventh art - Dom Roberto attach the film Bom, dia Alegria! (Final Project Master). With a special focus on the work of director Ernesto de Sousa and the movie Dom Roberto, his only feature film, this thesis makes clear certain peculiarities of film productions during the Salazar regime, their difficulties and achievements.